MIA: Japanese and Korean Art (Bot)

unsigned

Two Girls Collecting Pine Shoots for New Year https://collections.artsmia.org/art/8174/

Cylindrical Vase fine brown paste covered with thick glaze of light and darker grayish brown; Awata pottery. Nonomura Ninsei produced refined pottery decorated with colorful enamels and his style exerted enormous influence on other ceramists active in Kyoto during the seventeenth and eighteenth centuries. In addition to this highly decorative style, Ninsei also created a number of works that more closely reflected the subtle styles traditionally associated with the tea ceremony. This tall flower vase reflects his interest in earlier ceramics produced in Seto, near Nagoya. The thick application of iron rich glaze resulted in a deep brown surface and the interesting "accidental" drip effect.

Vase (hanaire) https://collections.artsmia.org/art/12285/

diptych; a (left): seated man with the bottom of his face hidden by his sleeve, wearing a kimono with gold and orange birds and tan and green could on a black background, and grey geometric patterns on white ground, and yellow socks; man holds a yellow fan with a red spot above his head; two swords in foreground; b (right): woman in profile from PL with head turned toward front, wearing a blue kimono with arching orange and green elements with blue circles and red hem, and underkimono of blue with white geometric lines; stylized pairs of black bird silhouettes at top; bold text at top and outer edges at center of each sheet; one character with round text cartouche at left edge in LLQ on a and at LLC on b Presumably related to the play Ichinotani futaba gunki 一谷嫩軍記, performed at the Nakamura Theater, 1833, 7th month.

Actors Yamashita Kinsaku IV as Kumagai's wife Sagami (R) and Nakamura Shikan II as Kumagai Jirō Naozane (L) https://collections.artsmia.org/art/90061/

striding demon-man, with closed umbrella in proper right hand, rests proper left hand on shoulder of Okame, who adjusts the demon's sandal with his proper left hand and rests his proper right hand on the demon's knee

Netsuke [Okame and Ohi] https://collections.artsmia.org/art/30446/

large rectangular abstract form made up by various shapes and colors; colors conist of dark blue, teal, black, and uninked area;

Layer https://collections.artsmia.org/art/135931/

large green and gray lotus leaves at bottom blowing in the wind; closed pink blossom amid foliage; two gray lotus leaves in UL with windblown white blossom losing its petals; sheets of gray rain

Lotus in the Rain https://collections.artsmia.org/art/118238/

squat, wide mouthed sake cup with tan glaze; incised X pattern on one side with brown and green glazed highlights; green spot inside

Sake cup (guinomi) https://collections.artsmia.org/art/116800/

gray jar with three looped knobs on sides; diagonal, lightly combed pattern on sides; lightly incised lines near top

Jar with three knobs https://collections.artsmia.org/art/122569/

rocky outcropping with trees and buildings on stilts at LL; boulder with trees at R; angled shore with dense trees and buildings in middle ground; rounded mountains in horizon at background

River Landscape and Distant Mountains https://collections.artsmia.org/art/122213/

netsuke, in form of pair of grotesque lions with amber (?) eyes, playing together

Two Chinese Lions Wrestling https://collections.artsmia.org/art/15487/

flower basket with very wide mouth; dramatically tapering, vertical open woven neck; closed weave body widens below neck, tapering again at base; bamboo cylinder with copper lining

Senshū-ami Weave Flower Basket https://collections.artsmia.org/art/117183/

design of embroidered undulating stripes and large bamboo leaf motifs on a dark blue ground Chōken, literally "long silk," is a type of unlined jacket made of semi-transparent, gauze silk fabric into which designs are woven or embroidered with gold-leafed and colored threads. The side seams are not sewn together, which allows it to swing and flutter as the actor dances. While chōken are used mainly for female roles, actors portraying noblemen can also wear them.

(Chōken with Bamboo Pattern) https://collections.artsmia.org/art/63689/

autumnal farm scene: brown and golden field in foreground with dilapidated barn or shed at center; small tree with a few leaves to R of structure; leaves caught in a breeze are suspended in the air behind the structure; the sky is olive/tan colored

Wind https://collections.artsmia.org/art/117657/

unattached diptych; male figure at R thrusting fan across image, toward figure at L; figure at L is in blue clothing with swirling tan/yellow cloud pattern on sleeves; figure at R has brown clothing with white floral pattern; each figure has a sword Related to the play Kanadehon Chūshingura 仮名手本忠臣蔵, performed at the Nakamura Theater in the 3rd month of 1862.

Actors Bandō Kamezō I as Kō no Moronao (R) and Sawamura Tosshō II as Enya Hangan https://collections.artsmia.org/art/127758/

Ghost tale of Iwa is a famous story based on the real event, known as "Yotsuya Kaidan (Ghost Tale in Yotsuya)", later had been made a Kabuki play by Tsuruya Nanboku. An unemployed samurai, Iemon married Iwa, a daughter of a warrior family looking for a man who can succeed their family name. After the marriage, he poisoned and killed his wife, and was haunted by the ghost of his wife.

The Ghost of Oiwa https://collections.artsmia.org/art/65717/

obverse: roosters in the fall rice harvest; reverse: monkeys in the cherry blossoms and the young monkeys beside the stream with crab and rushes; all heavily and beautifully embroidered lifelike

Rooster and hen in the fall rice harvest [obverse]; Monkeys amidst cherry blossoms [reverse] https://collections.artsmia.org/art/21547/

horse looking back over its proper left shoulder and jumping over a giant double gourd

Netsuke [Chokaro's horse jumping over gourd] https://collections.artsmia.org/art/30470/

red-faced monkey at UL peering over a snow-covered embankment; web-like waterfalls between snow-covered cliffs in LR; red fern to L of waterfall

Monkey on a snow hill https://collections.artsmia.org/art/116771/

Gion Shrine in Snow

Gion Shrine in Snow https://collections.artsmia.org/art/61709/

five lines of very small calligraphy on a tiny sheet of paper, mounted inside a circle with green and beige outer mount

Ninth Month https://collections.artsmia.org/art/118174/

conical, bowl-shaped top section; conical base has three tiers of rectangular perforations in incised bands with perforations connected by incised wavy lines; two bands of wavy incised lines, separated by pairs of ribs, on top section; blackish-grey patina This type of stand was used to support vessels for containing liquid. Because they are often found in tombs, they are believed to have served a ritual purpose, although similar stands may have also been used in a domestic setting. The series of perforations found on around the base are consistent with other found in tombs dating to the Three Kingdoms period. Square perforations such as these are associated with stands produced in Silla.

Tall stand with perforated base https://collections.artsmia.org/art/122560/

Fujimura Handayū II in a Dance Scene

Fujimura Handayū II in a Dance Scene https://collections.artsmia.org/art/8817/

bowl shape, with slightly inward-curving mouth; small, short foot; shiny dark grey glaze, with metallic-looking areas

Rakukei Hidashiguro-style tea bowl https://collections.artsmia.org/art/81844/

very large scroll with female tiger seated at center looking over PR shoulder toward two curious cubs at L edge; large tree with holes in trunk ULQ; tigers appear to be standing on cliff; rocks and bamboo at bottom of scene On a rocky cliffside near the base of an old tree, two tiger cubs play under the watchful eye of their mother. Tigers were a favorite subject for East Asian painters, and Korean paintings of tigers were highly influential in Japan, where painters took Korean examples as their models, especially during and after the 1600s. In fact, this painting itself has a long history in Japan. It has been handed down with a document written in 1863 attributing the painting to Tenshō Shūbun (active c. 1403–50), a highly celebrated medieval Japanese painter to whom many ink paintings in Japan were traditionally attributed. More likely, however, it was created by a Korean artist working in the 1600s before finding its way to Japan, where it remained until recently.

Tigress with Two Cubs https://collections.artsmia.org/art/117803/

A Night-cap

A Night-cap https://collections.artsmia.org/art/10218/

unsigned, artist and censor seals missing

20, Kutsukake Station, View of the Rain on the Plain of Hiratsuka https://collections.artsmia.org/art/22751/

(Three Women with Bills for Sweets)

(Three Women with Bills for Sweets) https://collections.artsmia.org/art/9356/

colorful images of a monk traveling, walking among sick and ailing people, walking among laborers, etc.; temple complex pictured; interspersed with text

Illustrations of the Life and Deeds of the Grand Master of Mount Kōya, vol. 7 https://collections.artsmia.org/art/122294/

three separate sheets; underwater scene; figure at L riddled with arrows and blood standing in front of large brown rock, wielding sword; figure at C sinking in water, with arrows in body, sinking toward crabs at bottom; family in robes at R seated on rock, looking on; figure in foreground with swords, bloody, charging to L

Picture of the Heike Clan Sinking and Perishing at Sea https://collections.artsmia.org/art/127734/

The Warrior Satō Tadanobu Defeats Priest Kakuhan in the Mountains of Yoshino

The Warrior Satō Tadanobu Defeats Priest Kakuhan in the Mountains of Yoshino https://collections.artsmia.org/art/42363/